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Johnson Banks have designed a set of postage stamps that celebrate the last 60 years of British fashion.

Sir Edwin Hardy Amies KCVO  (1909-2003) was born in Maida Vale. He became managing director of Mayfair couture house Lachesse in 1934. After World War II he opened his own fashion business in Savile row. Amies was the first major European fashion designer to venture into ready-to-wear and in 1955 received a royal warrant as dressmaker to the Queen. Other commissions have included clothing for the 1966 England World Cup squad and the 1972 GB Olympic squad and the film 2001: A Space Odyssey.

The outfit shown on the stamp dates from the late 1940s.

Sir Norman Hartnell KCVO (1901-1979) was born in Streatham. He opened his first couture house at 10 Bruton street, Mayfair in 1923.

The stamp shows an outfit created by Hartnell in the 1950s.

Granny Takes a tTrip was a boutique opened in February 1965 at 488 Kings Road in London’s Chelsea, by Nigel Waymouth, his girlfriend Sheila Cohen and John Pearse. The shop, which was acquired by Freddie Hornik in 1969, remained open until the mid-70s and has been called the ‘first psychedelic boutique in groovy London of the 1960s.’

The jacket shown on the stamp was designed by John Pearse using a Morris & Co. furniture fabric print called Golden Lily (1899).

Raymond ‘ossie’ Clark (1942-1996) was born in Warrington, Lancashire. He was a major figure in the swinging sixties scene in London and the fashion industry in that era. Clark is now renowned for his vintage designs by present-day designers and compared to the 1960s fashion greats Mary Quant and Biba. He has influenced many other designers, including Yves Saint Laurent, Anna Sui and Tom Ford.

The outfit shown on the stamp here dates from the late 1960s and features a print by Celia Birtwell.

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Did you know that apples prevent potatoes from sprouting? Or that aubergine and zucchini are biologically fruits and therefore should be treated like fruits?

Young designer Jihyun Ryou from the Netherlands tries to bring that kind of knowledge back to everyday life, calling it “shaping traditional oral knowledge”. She suggests that we shouldn’t hand over the responsibility for our food to the refrigerator but instead re-establish traditional and more natural ways of preserving our food.

Observing the food and therefore changing the notion of food preservation, we could find the answer to current situations such as the overuse of energy and food wastage. My design is a tool to implement that knowledge in a tangible way and slowly it changes the bigger picture of society. I believe that once people are given a tool that triggers their minds and requires a mental effort to use it, new traditions and new rituals can be introduced into our culture.

This project is about traditional oral knowledge which has been accumulated from experience and transmitted by mouth to mouth. Particularly focusing on the food preservation, it looks at a feasible way of bringing that knowledge into everyday life. Through the research into the current situation of food preservation, I’ve learned that we hand over the responsibility of taking care of food to the technology, the refrigerator. We don’t observe the food any more and we don’t understand how to treat it. Therefore my design looks at re-introducing and re-evaluating traditional oral knowledge of food, which is closer to nature. Furthermore, it aims to bring back the connection between different levels of living beings, we as human beings and food ingredients as other living beings. Through the objects of everyday life, design can introduce traditional oral knowledge into people’s lives through their experience of using it. Objects make invisible knowledge evident, says Jihyun Ryou.
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Apples emit a lot of ethylene gas. It has the effect of speeding up the ripening process of fruits and vegetables kept together with apples. When combined with potatoes, apples prevent them from sprouting

Keeping roots in a vertical position allows the organism to save energy and remain fresh for a longer time. This shelf gives a place for them to stand easily, using sand. At the same time, sand helps to keep the proper humidity.

We tend to think zucchini, aubergine, cucumber, etc. as vegetables.But they are biologically fruits. This shelf gives them a space to be outside the fridge. Also through the ritual to water them everyday, they will stay fresh.

Rice absorbs humidity easily. The spice container with rice inside helps spices stay dry without forming into lumps.

An egg has millions of holes in its shell. It absorbs the odour and substance around itself very easily. This creates a bad taste if it’s kept in the fridge with other food ingredients. This shelf provides a place for eggs outside of the fridge. Also the freshness of eggs can be tested in the water. The fresher they are, the further they sink.

We found it here.

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The great and the glamorous are currently sweeping into Hollywood as the biggest event in the movie industry calendar looms tonight. Yet, it is the enduring icons of the golden age that still show the A-listers how it should be done. Here are some stunning pictures that capture the sophistication and allure of stars on awards nights more than half a century ago. The Oscars!

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Better than box from Tiffany’s: Audrey Hepburn beams and clutches her Oscar for best actress at the ceremony in Hollywood, 1953 after her performance in Roman Holiday.

The best is yet to come: Frank Sinatra and Donna Reed (pictured right) hold their best supporting Oscars while posing with presenter Mercedes McCambridge (centre) for the movie From Here to Eternity at the 26th Annual Academy Awards Ceremony.

A star is born: Elizabeth Taylor and Oscar enjoy champagne after she was named Best Actress for her role in Butterfield 8 in 1960. She won again for Who’s Afraid of Virginia Woolf? in 1966.

Princess in waiting: Award presenters Audrey Hepburn and Grace Kelly (right) loiter backstage during the Annual Academy Awards.

The golden age: Clark Gable arrives with Grace Kelly at the 26th annual Academy presentation at the RKO Pantages theater, Hollywood.

Romantic leads: Humphrey Bogart and wife Lauren Bacall arrived at the 27th Academy Awards. They met on the set of To Have And Have Not in 1944 when Bacall was 19 and Bogart 45.

Picture perfect: Natalie Wood has her hair done in a dressing room at Warner Brothers ahead of the awards where she was nominated for Best Supporting Actress in Rebel Without A Cause.

Dancing with the real stars: Ginger Rogers and George Murphy take a spin holding the Oscar which they presented at the 22nd awards ceremony in 1950.

All the world’s a stage: John Wayne accepts Best Director Oscar for an absent John Ford from Olivia DeHavilland on stage at the 25th annual Academy Awards presentation, the first time it was televised.

by Mail Online

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We found it here.

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by David Shrigley

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Today, lets take a look at Hard Bookazine by german graphic design student Ruben Scupin. We just love all the pop-ups!

 

 

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Hadley Freeman, a Guardian columnist and features writer, UK Vogue  contributor, points out some fashion phrases. We added some sounds.
 
 
 
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Homage: The best known and most obvious. Rip-off. As in, “Emanuel Ungaro’s ruffled homage to Yves Saint Laurent was spot-on.” See also, “Inspiration”.

Inspiration: The desperate recourse of a designer who has still not come up with any ideas two weeks before the collection is due. Off they hike thee hence to their teenage music obsession / a cinematic hero of old currently enjoying a bit of a desperate renaissance / a painting in some heavily publicised exhibition at their local museum and then copying the bejeezus out of it. As in, “Golly, that particular label really got a lot of inspiration from David Bowie this season.”

Spot-on: Good enough, but with a gratifyingly bossier ring to it.

Modern: Different from last season, even by just a little. As in, “Yves Saint Laurent’s collection with slimmed down tulip skirts was so modern.” See also “Fresh”, “Vibrant”, “Spot-on.”

Fresh: See “Modern”, but add particularly young models in the show.

Vibrant: See “Modern.” Give some extra colour, and maybe a frill.

Witty: So gimmicky even Timmy Mallett would balk at wearing it. As in, “A certain Italian label’s take this season on French coquettes, replaced with striped t-shirts, petticoates and berets, was wonderfully witty.”

Very editorial: Excellent for outre fashion shoots but utterly unwearable in the real world. As in, “So-and-so’s collection of dresses made of plastic inner tubing was so editorial. Fabulous for the mag, bollocks to consumers.”

Very commercial: Boring but will undoubtedly sell by the bucketload. As in, “A certain new York designer’s collection based on black trousers was predictably commercial.”

Daring: Unwearable, e.g., “A certain British designer’s collection of balloon clothes was excitingly daring.”

Biscuit/Putty/Sand/Taupe/Nude: Beige.

Ivory/Snow/Virginal/Oyster: White

Cherry blossom/Blush/Flush: Pink.

Cappucino: Brown.

Pop of colour: Some colour in an otherwise dull outfit, e.g. “Sharon Stone livened up her LBD with a pop of colour from her red belt.”

Fresh faces: Models who as yet have not required nasal reconstruction and/or gone out with a (possibly) reformed junkie and/or been photographed in The Sun swinging from a chandelier while visiting Nelson Mandela.

Showpiece: Something amazing that will never be sold in shops. The designer equivalent of that old high street store PR’s trick of making one good garment and sending it to magazines to be shot but never actually producing them to be sold as they would be too expensive. In other words, a teasing lure to entice us all into the shops. As in, “I really love those silver shoes that are in a certain Italian label’s advert campaign but it turns out they were just showpieces.”

Butter soft: Only ever used in regards to leather which, in my experience, tends to be smooth, not soft, although, come to think of it, butter isn’t generally described as soft either. Anyway, for no apparent reason, this refers to smooth leather.

Support: Publicity. As in, “I’m sorry we gave you a seat in the 15th row but you just don’t give us enough support” or “We’re giving you a 100% off discount card in gratitude for all the support you’ve given us.”

Dove grey: Again, an unusual choice of reference point as I always thought doves were white. But maybe fashion people are just colourblind which would, at least, explain the enduring appeal of Pucci.

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